At first it is only an idea floating in the artist mind. Then through a lengthy sequence of sketches and in-studio research, the reality of a new design then appears first on paper and later transferred onto metal for its execution.

By holding the engraving tool in his hand, the engraver must sense each cut on the metal with respect to positioning, depth and shape. With the help of a microscope, great precision and utmost concentration must be maintained throughout the whole engraving process, no matter how long that may be. This physical endurance is essential but merely complements the many related areas of knowledge the artist must have such as metallurgy, toolmaking, jewelry making, gunsmithing, sculpting, drafting human and animal anatomy, characterization of ornamental designs, etc.

Deep Relief Engraving: I mostly use this technique for deeply sculpting with hammer and chisel of animal and human figures, scenery and ornamental designs into steel, bronze, brass, gold, silver and other materials. Bulino style is used with this technique for adding as many details as possible to the subject. In my gallery you will see this technique used to ornate high-grade knives, firearms, jewelry, dies for coins and medallions, models for casting, portraits, etc.

Bulino Engraving (also called Banknote engraving): I have spent a great number of years developing my own bulino technique. Now its degree of sophistication is such that it allows me to fulfill my desire for perfection, extreme detail and realism. All my limited-edition prints are engraved with this technique.

Scrimshaw: Very sharp and small tools are used to create fine cuts and textures in the rendering of scenery on many materials but mostly on stabilized bone similar in look and consistency to ivory.

Other engraving techniques are also part of my professional experience but are not applicable in the art field.